The programming of this disc reminds me of Barbara Westphal
and Jeffrey Swann’s Bridge disc [9109] which included both the
Rebecca Clarke and Vieuxtemps but also included some Enescu,
whereas the Zimmermann-Gerstein duo offers Brahms’s sonata in
E flat major Op.120/2.

Clarke’s sonata is now deservedly quite popular and there are
a number of recordings from which to choose with a variety of
couplings. Zimmerman and Gerstein don’t catch the opening folkloric
inflexions with quite as much immediacy as some duos but they
do move from moments of agitated intensity to ruminative reflection
with commendable surety. Zimmermann’s tone is finely equalized
as ever, maintaining body at both ends of the range, and the
ensemble is well nigh rock tight. The witty badinage of the
central movement works well at this chosen tempo, with the duo
avoiding the motoric speed that impelled Paul Coletti and Leslie
Howard, who are lightning fast here [Hyperion CDH55085]. In
the finale they’re a touch brisker than some duos, but that’s
possibly because they prefer not to make too big an adjustment
between the introductory Adagio section and the ensuing Allegro.
Zimmerman’s tone is richer than Westphal’s, who also plays extremely
well. Except for the finale where they’re quicker, the proportions
of this new performance remind one of the Garfield Jackson/Martin
Roscoe traversal on ASV CDDCA 932, coupled with Clarke’s Trio,
and Amy Beach’s Piano Quintet. Helen Callus and Robert McDonald
have also recorded it for ASV [1130] in a mixed recital and
they’re slower than Zimmermann and Gerstein but not as slow
as Philip Dukes and Sophia Rahman, whose first movement unfortunately
rules them out of contention [Naxos 8.557934].

As noted, Zimmermann and Westphal both turn to the Vieuxtemps
sonata and its expansive and expressive profile. Both offer
highly laudable performances though the former has a wider range
of tone colours and a greater sense of panache. That said Westphal,
a no-nonsense player, ensures that the central Barcarolle laps
that bit more incisively and insistently, whilst Zimmermann
prefers a warmer tone but a slower, gentler tempo. The Brahms
sonata is so much a staple that comparisons are numerous. I
will note however that whilst she’s slower in the outer movements
she’s even quicker than the young William Primrose (with Gerald
Moore) in the central Allegro appassionato; quite some feat
and very exciting. In fact this is a highly communicative and
agile performance played with great commitment and authority.

The recording is very well judged, the notes good but printed
in an unhelpful colour scheme (the track listing is unreadable
unless you’re standing under a 100 watt bulb).

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